Read Before Watching:
Due to the unexpected success of my first "Best ofBeethoven and Tchaikovsky" vid (see link below to watch) I have decided to make another classical style/ Baroque era music vid. Again, same warning as my last two vids.
Link: http://www.youtube.com/watch?v=4RWcNC32UEA
Thanks and, as always, leave your comments and ratings.

George Frideric Handel's "Music for the Royal Fireworks" (1749), composed at the behest of King George II of Great Britain for the great fireworks display celebrating the signing of the peace of Aix-la-Chapelle, which concluded the War of the Austrian Succession on October 18, 1748.
0:00 Ouverture
8:24 Bourrée
9:55 La paix
13:42 La Réjouissance
17:25 Minuet I & II
(Performed by the English Chamber Orchestra, conducted by Raymond Leppard.)
The terms of the treaty were largely negotiated between the Kingdom of Great Britain and the Kingdom of France, with the other powers, chief among them Austria, Prussia and Spain, following their lead. The treaty affirmed the right of AustrianEmpress Maria Theresa to the Habsburg thrones and recognized the gains of the rising Kingdom of Prussia, which had, with France and Spain, opposed the Habsburg monarchy and Great Britain. Although the position of Britain in the struggle was arguably less than paramount, it was decided that a great public fireworks celebration should be conducted to commemorate the peace. Handel composed his "Music for the Royal Fireworks" after being commissioned to provide "suitable music" for this celebration, to be held on April 27, 1749 in London in Green Park, by St. James's.
The "Music for the RoyalFireworks" was first performed publicly six days before the great fireworks display, on April 21, 1749, when a full rehearsal of the music was held at Vauxhall Gardens. However, Handel himself objected to this performance. It is assumed his objection was due to logistics, but was more due to his promise to repeat the music for a charity concert at the Foundling Hospital four weeks after the main display. The Vauxhall performance was publicly advertised, and would thus be widely attended, so Handel feared it would lessen interest in subsequent performances.
At any rate, over twelve thousand people, each paying two shillings and six pence, rushed en-masse for the Vauxhall rehearsal, causing a three-hour traffic jam. The Westminster Bridge was closed for subsidence repairs, so London Bridge was severely overcrowded. Carriages were forced across with great inconvenience, and there were reports of scuffles among the footmen. The rehearsal itself was accompanied by an 18 cannon salute, conducted with powder that had been delivered in a batch of 36 pounds.
AgainstGeorge II's wishes, Handel insisted upon including strings in the orchestra for the main celebration. Renowned designer Florentine Servandoni was summoned to construct what was dubbed an enormous "machine" as the centerpiece. A great wood and canvas structure measuring over 400 feet long and 100 feet high, it was constructed in the manner of "a magnificent Doric Temple" and executed in the trompe-l'oeil style. It was complete with a triumphal arch topped with a grand Sun, bearing the latin epigraph "VIVAT REX" in letters of "bright fire" which were to burn for five hours. The structure featured impressive side pavilions and elaborate decoration.
On the great day, the King and his entourage toured the "machine," presenting purses to its operatives while the entire band played, commencing at 6 o'clock. The beginning of the fireworks display went well enough, as "The Gentleman's Magazine" vol. 19 (April, 1749), describes:
"At half an hour after eight, the works were begun by a single rocket from before the library, then the cannon within the chevaux de frize were fired...101 pieces of cannon placed on Constitution-hill, were discharged; after which a great number of rockets of different sorts, balloons, &c. were discharged, to surprising perfection."
However, catastrophe ensued when the great "machine" misfired and burst into intense flame. The left pavilion of the structure was most affected, and according to the "Description II" of the celebration, published afterwards, the contrivance "burnt with great Fury." Two of the arches smoldered to the ground, and the whole building was only saved when carpenters cast away another two arches and fire engines were brought in to suppress the flames. The stress was apparently great, because another misfortune followed when Florentine Servandoni threw a tantrum and drew his sword on Charles Frederick, Comptroller of the event. Servandoni was imprisoned but released the next day after tendering his apologies. In the end, the great sun, "32 feet in Diameter," the literal high-light of the arrangement, survived the disaster to fulfill expectations.
Handel's orchestration begins with an Overture suited for the royal progress across St. James's park, the middle portion of which relaxes and turns toward B minor. Then, a Bourrée for woodwind and string follows, moving into a siciliano entitled "La Paix," which splendidly reflects the eighteenth-century view of peace as a country pastorale. The piece then moves to the brilliant and varied "Réjouissance," and finally, is concluded with two Minuets, finishing off the music in an august atmosphere.

published:24 Aug 2013

views:1602591

Suite pour clavecin n°4

published:15 May 2010

views:5516169

George Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 -- 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.
Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical or biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorio is an ethical one, they are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.
Handel is regarded as one of the greatest composers of all time, not only because of his Water Music, and Music for the Royal Fireworks. But since the late 1960s, with the revival of baroque music and original instrument interest in Handel's opera seria has revived too. Handel composed forty operas in about thirty years; some are considered as masterpieces, with many sweeping arias and much admired improvisations. His operas contain remarkable human characterization, by a composer not known for his love affairs.

Surname

A surname or family name is a name added to a given name. In many cases, a surname is a family name and many dictionaries define "surname" as a synonym of "family name". In the western hemisphere, it is commonly synonymous with last name because it is usually placed at the end of a person's given name.

The style of having both a family name (surname) and a given name (forename) is far from universal. In many countries, it is common for ordinary people to have only one name or mononym.

The concept of a "surname" is a relatively recent historical development, evolving from a medieval naming practice called a "byname". Based on an individual's occupation or area of residence, a byname would be used in situations where more than one person had the same name.

As a digit

The glyph used today in the Western world to represent the number 1, a vertical line, often with a serif at the top and sometimes a short horizontal line at the bottom, traces its roots back to the Indians, who wrote 1 as a horizontal line, much like the Chinese character 一. The Gupta wrote it as a curved line, and the Nagari sometimes added a small circle on the left (rotated a quarter turn to the right, this 9-look-alike became the present day numeral 1 in the Gujarati and Punjabi scripts). The Nepali also rotated it to the right but kept the circle small. This eventually became the top serif in the modern numeral, but the occasional short horizontal line at the bottom probably originates from similarity with the Roman numeralI. In some countries, the little serif at the top is sometimes extended into a long upstroke, sometimes as long as the vertical line, which can lead to confusion with the glyph for seven in other countries. Where the 1 is written with a long upstroke, the number 7 has a horizontal stroke through the vertical line.

George Frideric Handel

George Frideric (or Frederick) Handel (/ˈhændəl/; born Georg Friedrich Händel,German pronunciation:[ˈhɛndəl]; 23 February 1685 (O.S.) [(N.S.) 5 March] – 14 April 1759) was a German, later British Baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos. Born in a family indifferent to music, Handel received critical training in Halle, Hamburg and Italy before settling in London in 1712; he became a naturalised British subject in 1727. He was strongly influenced both by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.

Within fifteen years, Handel had started three commercial opera companies to supply the English nobility with Italian opera. Musicologist Winton Dean writes that his operas show that "Handel was not only a great composer; he was a dramatic genius of the first order." As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Almost blind, and having lived in England for nearly fifty years, he died in 1759, a respected and rich man. His funeral was given full state honours, and he was buried in Westminster Abbey in London.

George Frideric Handel's - Water Music

Read Before Watching:
Due to the unexpected success of my first "Best ofBeethoven and Tchaikovsky" vid (see link below to watch) I have decided to make another classical style/ Baroque era music vid. Again, same warning as my last two vids.
Link: http://www.youtube.com/watch?v=4RWcNC32UEA
Thanks and, as always, leave your comments and ratings.

George Frideric Handel - Music for the Royal Fireworks

George Frideric Handel's "Music for the Royal Fireworks" (1749), composed at the behest of King George II of Great Britain for the great fireworks display celebrating the signing of the peace of Aix-la-Chapelle, which concluded the War of the Austrian Succession on October 18, 1748.
0:00 Ouverture
8:24 Bourrée
9:55 La paix
13:42 La Réjouissance
17:25 Minuet I & II
(Performed by the English Chamber Orchestra, conducted by Raymond Leppard.)
The terms of the treaty were largely negotiated between the Kingdom of Great Britain and the Kingdom of France, with the other powers, chief among them Austria, Prussia and Spain, following their lead. The treaty affirmed the right of AustrianEmpress Maria Theresa to the Habsburg thrones and recognized the gains of the rising Kingdom of Prussia, which had, with France and Spain, opposed the Habsburg monarchy and Great Britain. Although the position of Britain in the struggle was arguably less than paramount, it was decided that a great public fireworks celebration should be conducted to commemorate the peace. Handel composed his "Music for the Royal Fireworks" after being commissioned to provide "suitable music" for this celebration, to be held on April 27, 1749 in London in Green Park, by St. James's.
The "Music for the RoyalFireworks" was first performed publicly six days before the great fireworks display, on April 21, 1749, when a full rehearsal of the music was held at Vauxhall Gardens. However, Handel himself objected to this performance. It is assumed his objection was due to logistics, but was more due to his promise to repeat the music for a charity concert at the Foundling Hospital four weeks after the main display. The Vauxhall performance was publicly advertised, and would thus be widely attended, so Handel feared it would lessen interest in subsequent performances.
At any rate, over twelve thousand people, each paying two shillings and six pence, rushed en-masse for the Vauxhall rehearsal, causing a three-hour traffic jam. The Westminster Bridge was closed for subsidence repairs, so London Bridge was severely overcrowded. Carriages were forced across with great inconvenience, and there were reports of scuffles among the footmen. The rehearsal itself was accompanied by an 18 cannon salute, conducted with powder that had been delivered in a batch of 36 pounds.
AgainstGeorge II's wishes, Handel insisted upon including strings in the orchestra for the main celebration. Renowned designer Florentine Servandoni was summoned to construct what was dubbed an enormous "machine" as the centerpiece. A great wood and canvas structure measuring over 400 feet long and 100 feet high, it was constructed in the manner of "a magnificent Doric Temple" and executed in the trompe-l'oeil style. It was complete with a triumphal arch topped with a grand Sun, bearing the latin epigraph "VIVAT REX" in letters of "bright fire" which were to burn for five hours. The structure featured impressive side pavilions and elaborate decoration.
On the great day, the King and his entourage toured the "machine," presenting purses to its operatives while the entire band played, commencing at 6 o'clock. The beginning of the fireworks display went well enough, as "The Gentleman's Magazine" vol. 19 (April, 1749), describes:
"At half an hour after eight, the works were begun by a single rocket from before the library, then the cannon within the chevaux de frize were fired...101 pieces of cannon placed on Constitution-hill, were discharged; after which a great number of rockets of different sorts, balloons, &c. were discharged, to surprising perfection."
However, catastrophe ensued when the great "machine" misfired and burst into intense flame. The left pavilion of the structure was most affected, and according to the "Description II" of the celebration, published afterwards, the contrivance "burnt with great Fury." Two of the arches smoldered to the ground, and the whole building was only saved when carpenters cast away another two arches and fire engines were brought in to suppress the flames. The stress was apparently great, because another misfortune followed when Florentine Servandoni threw a tantrum and drew his sword on Charles Frederick, Comptroller of the event. Servandoni was imprisoned but released the next day after tendering his apologies. In the end, the great sun, "32 feet in Diameter," the literal high-light of the arrangement, survived the disaster to fulfill expectations.
Handel's orchestration begins with an Overture suited for the royal progress across St. James's park, the middle portion of which relaxes and turns toward B minor. Then, a Bourrée for woodwind and string follows, moving into a siciliano entitled "La Paix," which splendidly reflects the eighteenth-century view of peace as a country pastorale. The piece then moves to the brilliant and varied "Réjouissance," and finally, is concluded with two Minuets, finishing off the music in an august atmosphere.

4:04

Haendel - Sarabande

Haendel - Sarabande

Haendel - Sarabande

Suite pour clavecin n°4

13:34

George Frederick Handel BBC Documentary Part 1 of 5

George Frederick Handel BBC Documentary Part 1 of 5

George Frederick Handel BBC Documentary Part 1 of 5

George Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 -- 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.
Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical or biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorio is an ethical one, they are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.
Handel is regarded as one of the greatest composers of all time, not only because of his Water Music, and Music for the Royal Fireworks. But since the late 1960s, with the revival of baroque music and original instrument interest in Handel's opera seria has revived too. Handel composed forty operas in about thirty years; some are considered as masterpieces, with many sweeping arias and much admired improvisations. His operas contain remarkable human characterization, by a composer not known for his love affairs.

George Frideric Handel's - Water Music

Read Before Watching:
Due to the unexpected success of my first "Best ofBeethoven and Tchaikovsky" vid (see link below to watch) I have decided to make another classical style/ Baroque era music vid. Again, same warning as my last two vids.
Link: http://www.youtube.com/watch?v=4RWcNC32UEA
Thanks and, as always, leave your comments and ratings.

Read Before Watching:
Due to the unexpected success of my first "Best ofBeethoven and Tchaikovsky" vid (see link below to watch) I have decided to make another classical style/ Baroque era music vid. Again, same warning as my last two vids.
Link: http://www.youtube.com/watch?v=4RWcNC32UEA
Thanks and, as always, leave your comments and ratings.

Read Before Watching:
Due to the unexpected success of my first "Best ofBeethoven and Tchaikovsky" vid (see link below to watch) I have decided to make another classical style/ Baroque era music vid. Again, same warning as my last two vids.
Link: http://www.youtube.com/watch?v=4RWcNC32UEA
Thanks and, as always, leave your comments and ratings.

George Frideric Handel's "Music for the Royal Fireworks" (1749), composed at the behest of King George II of Great Britain for the great fireworks display celebrating the signing of the peace of Aix-la-Chapelle, which concluded the War of the Austrian Succession on October 18, 1748.
0:00 Ouverture
8:24 Bourrée
9:55 La paix
13:42 La Réjouissance
17:25 Minuet I & II
(Performed by the English Chamber Orchestra, conducted by Raymond Leppard.)
The terms of the treaty were largely negotiated between the Kingdom of Great Britain and the Kingdom of France, with the other powers, chief among them Austria, Prussia and Spain, following their lead. The treaty affirmed the right of AustrianEmpress Maria Theresa to the Habsburg thrones and recognized the gains of the rising Kingdom of Prussia, which had, with France and Spain, opposed the Habsburg monarchy and Great Britain. Although the position of Britain in the struggle was arguably less than paramount, it was decided that a great public fireworks celebration should be conducted to commemorate the peace. Handel composed his "Music for the Royal Fireworks" after being commissioned to provide "suitable music" for this celebration, to be held on April 27, 1749 in London in Green Park, by St. James's.
The "Music for the RoyalFireworks" was first performed publicly six days before the great fireworks display, on April 21, 1749, when a full rehearsal of the music was held at Vauxhall Gardens. However, Handel himself objected to this performance. It is assumed his objection was due to logistics, but was more due to his promise to repeat the music for a charity concert at the Foundling Hospital four weeks after the main display. The Vauxhall performance was publicly advertised, and would thus be widely attended, so Handel feared it would lessen interest in subsequent performances.
At any rate, over twelve thousand people, each paying two shillings and six pence, rushed en-masse for the Vauxhall rehearsal, causing a three-hour traffic jam. The Westminster Bridge was closed for subsidence repairs, so London Bridge was severely overcrowded. Carriages were forced across with great inconvenience, and there were reports of scuffles among the footmen. The rehearsal itself was accompanied by an 18 cannon salute, conducted with powder that had been delivered in a batch of 36 pounds.
AgainstGeorge II's wishes, Handel insisted upon including strings in the orchestra for the main celebration. Renowned designer Florentine Servandoni was summoned to construct what was dubbed an enormous "machine" as the centerpiece. A great wood and canvas structure measuring over 400 feet long and 100 feet high, it was constructed in the manner of "a magnificent Doric Temple" and executed in the trompe-l'oeil style. It was complete with a triumphal arch topped with a grand Sun, bearing the latin epigraph "VIVAT REX" in letters of "bright fire" which were to burn for five hours. The structure featured impressive side pavilions and elaborate decoration.
On the great day, the King and his entourage toured the "machine," presenting purses to its operatives while the entire band played, commencing at 6 o'clock. The beginning of the fireworks display went well enough, as "The Gentleman's Magazine" vol. 19 (April, 1749), describes:
"At half an hour after eight, the works were begun by a single rocket from before the library, then the cannon within the chevaux de frize were fired...101 pieces of cannon placed on Constitution-hill, were discharged; after which a great number of rockets of different sorts, balloons, &c. were discharged, to surprising perfection."
However, catastrophe ensued when the great "machine" misfired and burst into intense flame. The left pavilion of the structure was most affected, and according to the "Description II" of the celebration, published afterwards, the contrivance "burnt with great Fury." Two of the arches smoldered to the ground, and the whole building was only saved when carpenters cast away another two arches and fire engines were brought in to suppress the flames. The stress was apparently great, because another misfortune followed when Florentine Servandoni threw a tantrum and drew his sword on Charles Frederick, Comptroller of the event. Servandoni was imprisoned but released the next day after tendering his apologies. In the end, the great sun, "32 feet in Diameter," the literal high-light of the arrangement, survived the disaster to fulfill expectations.
Handel's orchestration begins with an Overture suited for the royal progress across St. James's park, the middle portion of which relaxes and turns toward B minor. Then, a Bourrée for woodwind and string follows, moving into a siciliano entitled "La Paix," which splendidly reflects the eighteenth-century view of peace as a country pastorale. The piece then moves to the brilliant and varied "Réjouissance," and finally, is concluded with two Minuets, finishing off the music in an august atmosphere.

George Frideric Handel's "Music for the Royal Fireworks" (1749), composed at the behest of King George II of Great Britain for the great fireworks display celebrating the signing of the peace of Aix-la-Chapelle, which concluded the War of the Austrian Succession on October 18, 1748.
0:00 Ouverture
8:24 Bourrée
9:55 La paix
13:42 La Réjouissance
17:25 Minuet I & II
(Performed by the English Chamber Orchestra, conducted by Raymond Leppard.)
The terms of the treaty were largely negotiated between the Kingdom of Great Britain and the Kingdom of France, with the other powers, chief among them Austria, Prussia and Spain, following their lead. The treaty affirmed the right of AustrianEmpress Maria Theresa to the Habsburg thrones and recognized the gains of the rising Kingdom of Prussia, which had, with France and Spain, opposed the Habsburg monarchy and Great Britain. Although the position of Britain in the struggle was arguably less than paramount, it was decided that a great public fireworks celebration should be conducted to commemorate the peace. Handel composed his "Music for the Royal Fireworks" after being commissioned to provide "suitable music" for this celebration, to be held on April 27, 1749 in London in Green Park, by St. James's.
The "Music for the RoyalFireworks" was first performed publicly six days before the great fireworks display, on April 21, 1749, when a full rehearsal of the music was held at Vauxhall Gardens. However, Handel himself objected to this performance. It is assumed his objection was due to logistics, but was more due to his promise to repeat the music for a charity concert at the Foundling Hospital four weeks after the main display. The Vauxhall performance was publicly advertised, and would thus be widely attended, so Handel feared it would lessen interest in subsequent performances.
At any rate, over twelve thousand people, each paying two shillings and six pence, rushed en-masse for the Vauxhall rehearsal, causing a three-hour traffic jam. The Westminster Bridge was closed for subsidence repairs, so London Bridge was severely overcrowded. Carriages were forced across with great inconvenience, and there were reports of scuffles among the footmen. The rehearsal itself was accompanied by an 18 cannon salute, conducted with powder that had been delivered in a batch of 36 pounds.
AgainstGeorge II's wishes, Handel insisted upon including strings in the orchestra for the main celebration. Renowned designer Florentine Servandoni was summoned to construct what was dubbed an enormous "machine" as the centerpiece. A great wood and canvas structure measuring over 400 feet long and 100 feet high, it was constructed in the manner of "a magnificent Doric Temple" and executed in the trompe-l'oeil style. It was complete with a triumphal arch topped with a grand Sun, bearing the latin epigraph "VIVAT REX" in letters of "bright fire" which were to burn for five hours. The structure featured impressive side pavilions and elaborate decoration.
On the great day, the King and his entourage toured the "machine," presenting purses to its operatives while the entire band played, commencing at 6 o'clock. The beginning of the fireworks display went well enough, as "The Gentleman's Magazine" vol. 19 (April, 1749), describes:
"At half an hour after eight, the works were begun by a single rocket from before the library, then the cannon within the chevaux de frize were fired...101 pieces of cannon placed on Constitution-hill, were discharged; after which a great number of rockets of different sorts, balloons, &c. were discharged, to surprising perfection."
However, catastrophe ensued when the great "machine" misfired and burst into intense flame. The left pavilion of the structure was most affected, and according to the "Description II" of the celebration, published afterwards, the contrivance "burnt with great Fury." Two of the arches smoldered to the ground, and the whole building was only saved when carpenters cast away another two arches and fire engines were brought in to suppress the flames. The stress was apparently great, because another misfortune followed when Florentine Servandoni threw a tantrum and drew his sword on Charles Frederick, Comptroller of the event. Servandoni was imprisoned but released the next day after tendering his apologies. In the end, the great sun, "32 feet in Diameter," the literal high-light of the arrangement, survived the disaster to fulfill expectations.
Handel's orchestration begins with an Overture suited for the royal progress across St. James's park, the middle portion of which relaxes and turns toward B minor. Then, a Bourrée for woodwind and string follows, moving into a siciliano entitled "La Paix," which splendidly reflects the eighteenth-century view of peace as a country pastorale. The piece then moves to the brilliant and varied "Réjouissance," and finally, is concluded with two Minuets, finishing off the music in an august atmosphere.

George Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 -- 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.
Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical or biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorio is an ethical one, they are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.
Handel is regarded as one of the greatest composers of all time, not only because of his Water Music, and Music for the Royal Fireworks. But since the late 1960s, with the revival of baroque music and original instrument interest in Handel's opera seria has revived too. Handel composed forty operas in about thirty years; some are considered as masterpieces, with many sweeping arias and much admired improvisations. His operas contain remarkable human characterization, by a composer not known for his love affairs.

George Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 -- 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.
Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical or biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorio is an ethical one, they are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.
Handel is regarded as one of the greatest composers of all time, not only because of his Water Music, and Music for the Royal Fireworks. But since the late 1960s, with the revival of baroque music and original instrument interest in Handel's opera seria has revived too. Handel composed forty operas in about thirty years; some are considered as masterpieces, with many sweeping arias and much admired improvisations. His operas contain remarkable human characterization, by a composer not known for his love affairs.

George Frideric Handel's - Water Music

Read Before Watching:
Due to the unexpected success of my first "Best ofBeethoven and Tchaikovsky" vid (see link below to watch) I have decided to make another classical style/ Baroque era music vid. Again, same warning as my last two vids.
Link: http://www.youtube.com/watch?v=4RWcNC32UEA
Thanks and, as always, leave your comments and ratings.

George Frideric Handel - Music for the Royal Fireworks

George Frideric Handel's "Music for the Royal Fireworks" (1749), composed at the behest of King George II of Great Britain for the great fireworks display celebrating the signing of the peace of Aix-la-Chapelle, which concluded the War of the Austrian Succession on October 18, 1748.
0:00 Ouverture
8:24 Bourrée
9:55 La paix
13:42 La Réjouissance
17:25 Minuet I & II
(Performed by the English Chamber Orchestra, conducted by Raymond Leppard.)
The terms of the treaty were largely negotiated between the Kingdom of Great Britain and the Kingdom of France, with the other powers, chief among them Austria, Prussia and Spain, following their lead. The treaty affirmed the right of AustrianEmpress Maria Theresa to the Habsburg thrones and recognized the gains of the rising Kingdom of Prussia, which had, with France and Spain, opposed the Habsburg monarchy and Great Britain. Although the position of Britain in the struggle was arguably less than paramount, it was decided that a great public fireworks celebration should be conducted to commemorate the peace. Handel composed his "Music for the Royal Fireworks" after being commissioned to provide "suitable music" for this celebration, to be held on April 27, 1749 in London in Green Park, by St. James's.
The "Music for the RoyalFireworks" was first performed publicly six days before the great fireworks display, on April 21, 1749, when a full rehearsal of the music was held at Vauxhall Gardens. However, Handel himself objected to this performance. It is assumed his objection was due to logistics, but was more due to his promise to repeat the music for a charity concert at the Foundling Hospital four weeks after the main display. The Vauxhall performance was publicly advertised, and would thus be widely attended, so Handel feared it would lessen interest in subsequent performances.
At any rate, over twelve thousand people, each paying two shillings and six pence, rushed en-masse for the Vauxhall rehearsal, causing a three-hour traffic jam. The Westminster Bridge was closed for subsidence repairs, so London Bridge was severely overcrowded. Carriages were forced across with great inconvenience, and there were reports of scuffles among the footmen. The rehearsal itself was accompanied by an 18 cannon salute, conducted with powder that had been delivered in a batch of 36 pounds.
AgainstGeorge II's wishes, Handel insisted upon including strings in the orchestra for the main celebration. Renowned designer Florentine Servandoni was summoned to construct what was dubbed an enormous "machine" as the centerpiece. A great wood and canvas structure measuring over 400 feet long and 100 feet high, it was constructed in the manner of "a magnificent Doric Temple" and executed in the trompe-l'oeil style. It was complete with a triumphal arch topped with a grand Sun, bearing the latin epigraph "VIVAT REX" in letters of "bright fire" which were to burn for five hours. The structure featured impressive side pavilions and elaborate decoration.
On the great day, the King and his entourage toured the "machine," presenting purses to its operatives while the entire band played, commencing at 6 o'clock. The beginning of the fireworks display went well enough, as "The Gentleman's Magazine" vol. 19 (April, 1749), describes:
"At half an hour after eight, the works were begun by a single rocket from before the library, then the cannon within the chevaux de frize were fired...101 pieces of cannon placed on Constitution-hill, were discharged; after which a great number of rockets of different sorts, balloons, &c. were discharged, to surprising perfection."
However, catastrophe ensued when the great "machine" misfired and burst into intense flame. The left pavilion of the structure was most affected, and according to the "Description II" of the celebration, published afterwards, the contrivance "burnt with great Fury." Two of the arches smoldered to the ground, and the whole building was only saved when carpenters cast away another two arches and fire engines were brought in to suppress the flames. The stress was apparently great, because another misfortune followed when Florentine Servandoni threw a tantrum and drew his sword on Charles Frederick, Comptroller of the event. Servandoni was imprisoned but released the next day after tendering his apologies. In the end, the great sun, "32 feet in Diameter," the literal high-light of the arrangement, survived the disaster to fulfill expectations.
Handel's orchestration begins with an Overture suited for the royal progress across St. James's park, the middle portion of which relaxes and turns toward B minor. Then, a Bourrée for woodwind and string follows, moving into a siciliano entitled "La Paix," which splendidly reflects the eighteenth-century view of peace as a country pastorale. The piece then moves to the brilliant and varied "Réjouissance," and finally, is concluded with two Minuets, finishing off the music in an august atmosphere.

George Frederick Handel BBC Documentary Part 1 of 5

George Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 -- 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.
Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical or biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorio is an ethical one, they are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.
Handel is regarded as one of the greatest composers of all time, not only because of his Water Music, and Music for the Royal Fireworks. But since the late 1960s, with the revival of baroque music and original instrument interest in Handel's opera seria has revived too. Handel composed forty operas in about thirty years; some are considered as masterpieces, with many sweeping arias and much admired improvisations. His operas contain remarkable human characterization, by a composer not known for his love affairs.

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